Week 2: A World Full of Sound! 
Welcome to the Main Thread for the second week of the "Music from Latin America" challenge!
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- Watch the kickoff livestream! (<- click)
What was the first Latin American Piece you have played?
↓ Happy Sharing! ↓
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In this video, I'm asking for some advice on the best way to play a section of Luz Mala (Barrios). If you have some time to listen, let me know your thoughts.
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Eric Phillips Good question that you pose. While I have never played this piece, it seems to me that playing that last note rather than using a slur works well and seems an appropriate musical solution.
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Dale Needles Thanks, Dale. That's my preference right now, too.
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Eric Phillips like Dale, it seems a good solution for me too. You'll have a better action over the dynamics of that note, and if you look at the section some of this pattern has it plucked then for overall consistency it would also make sense.
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Blaise Laflamme Thanks, Blaise. Yes, some of them have to have the third note plucked, so doing that each time does make the articulation more consistent. Thanks for your thoughts.
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Eric Phillips applying a similar articulation to similar patterns helps listeners understand the musical discourse IMHO.
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Blaise Laflamme I agree. It helps the player too (that is, me)!
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Eric Phillips I dare to differ.
the notated difference towards the end of the phrase, could be intentional (although you never know in these editions). The strict timing/evenness of these slurs is important and not so easy to execute, but somehow I like the smoothness of the slurred motif. It gives a decrescendo feeling towards the downbeat, which is interesting. The different phrasing at the end comes a nice surprising variation… just my uneducated opinion…, -
joosje That's fair enough. Joosje. It is definitely more difficult for me to execute and keep them all rhythmically even as notated. I must say, I am finding pretty significant differences among the various online editions of Barrios' music. I could only find this one score for this piece, however. Either way, when I play it, I like it better when I articulate the last note of each group. I reserve the right to change my mind, though!
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Eric Phillips
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Eric Phillips hi Eric! The plucked version sounds clean and consistent, but I’ve got to say the slurred version was more interesting for my ear! Gave it a bit more groovy sound, but that might be more Brouwer than barrios!
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Eric Phillips I don't know about this piece, but I wanted to join the discussion.
After listening to various versions of this piece online, I think most people just played the first note forcefully to help sustain the loudness of all 3 notes. Some of them would even cut off the chord to free up their hand, so they could really "hammer on" to the last note.
Just some observations, hope this would help.
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Chris Coghill Thanks Chris. I appreciate you listening and sharing your thoughts.
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Wai Thanks, Wai, I appreciate your thoughts.
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Eric Phillips I'm a bit late to this discussion (I'm spending a lot of time trying to get my pieces ready for this challenge and am having trouble keeping up with the forum.) I am also somewhat undecided on which I prefer. The slur marking does indicate all notes should be slurred, however, the tenuto marking seems to contradict that, or at least suggest the final slurred note should be emphasized for the sake of duration.
I think I prefer the full slurred notes, especially when the slur is descending which is stronger. Perhaps you could try mixing the techniques (plucking ascending slurs and not on descending) or working to strengthen the ascending slurs, and reserving the plucked as an emphasis.
I'm not sure I have provided any clarity to the issue.
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Jack Stewart Thanks Jack. I went with plucking the third note in the recording below. I’ll try your idea of doing it differently for ascending versus descending.
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Eric Phillips To me, the option with the slurs has a very characteristic accent, it tastes a "guitarra criolla". I guess that it's necessary to think in this group of three notes more like an appoggiatura that as three notes with a slur.
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Here is another little gem of a study, which was untitled but was written to be played "Liberamente" (freely). Again, it is not clear when he wrote it, but most likely sometime in the 1950s. As you will see, Carlevaro's tonal language is very evident in this early study. I found it recently in his library and the more I play it, the more I have come love it.
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Dale Needles sitting down for a while to connect with the many wonderful submissions in this challenge and discovering your latest. You’re so active, Dale, and that’s great, because you have a true feeling for Carlevaro’s language. This study is very beautiful and your intense playing is paying homage to the maestro. Thank you.
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Dale Needles That's wonderful, Dale! Such a welcome change from the type of music that I usually associate with Latin America.
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Dale Needles This is beautiful, Dale. Probably my favorite Carlevaro so far. Wonderful performance.
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Dale Needles Beautiful, and profound. Thank you for playing, it's such a pleasure to listen to you with these Carlevaros gems!
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Dale Needles thank you, its so pure
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Barrios - Estilo Uruguayo (Luz Mala)
I think I'll make this my final recording of this piece. There is a description of the legend of Luz Mala at this website, if you are interested: https://www.journeylatinamerica.com/travel-inspiration/other/halloween-inspired-latin-americas-spookiest-myths/
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Eric Phillips Great job, Eric. This is nice piece, even if it is Evil Light. As in John Adams opera - Why does the Devil have all the good tunes. (or as a T shirt I gave my daughter stated - Come to the Dark Side - We have Cookies.)
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